Eric Clapton and his music

2Флейтист:
>Скачал недавно с алькара запись Eric Clapton - Cold turkey, надеясь на кавер. Вот с этго альбома: >http://mp3.alkar.net/browse/191/15874.html И обнаружил запись с вокалом Леннона.
>Скажите, на альбоме Клэптона тоже спел Леннон или это вообще инородная запись?

Eric Clapton - Futher On Up The Crossroads (CD1) - ЭТО СБОРНЫЙ БУТЛЕГ, в который включены вещи, в которых он принимал участие,как приглашенный, сессионный гитарист.
Ни на каких альбомах КЛЭПТОНА, этой ПЕСНИ нет и быть не может.
Это песня Леннона и Эрик там только играл на гитаре.

>Продолжая ту же тему, на альбоме Rush ( http://mp3.alkar.net/browse/191/4514.html) запись всё же клэптоновская или то же самое?

Cold Turkey на RUSH, это СОВСЕМ ДРУГАЯ (инструментальная) ВЕЩЬ, сочиненная Эриком.
RUSH - это ПОЛНОСТЬЮ Клэптоновская пластинка.

Лучшие люди планеты Земля...

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Катастрофа...
Из статьи в Charlotte Observer...

"...Clapton's musical director Doyle Bramhall II..."


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Это скверно, что и говорить. Но могло быть и хуже. Есть еще Джон Мэйер, например.

Six Hours, 37 Years, and Four Nights: Waiting for CreamStuart MitchnerThe concert was scheduled for 8:30. We were sitting in the Brandeis gym waiting for Eric Clapton, Jack Bruce, and Ginger Baker, better known as Cream. Their flight had been held up because of a storm in Indiana. We got updates as the hours passed; we were told "They're in Detroit!" "They've landed at Cleveland!" "They're on their way!" This was in the days before arena rock when Cream's fame was still more underground than mainstream. Clapton might have been "god" in England, but his reputation was still brewing in the States. Our tickets had cost under $5, and we were sitting near the front.
Finally the word came — they had landed at Boston and a motorcade was escorting them to the gym. It was nearing 2:30 in the morning when they took the stage. According to various accounts, no more than 100 people had given up and left the building by the time they arrived.
It was a dramatic entrance. We gave them a standing ovation and they appreciated us the way you appreciate an audience that has cared enough to stick it out for almost six hours on backless benches. It was pretty clear that they intended to reward us for our patience. Exhausted, disoriented, and unlikely to be thrilled by the prospect of a 2:30 a.m. performance after dealing with hours of airplanes and storms and lightning, they were greeted like heroes and they played like heroes.
On second thought, make that warriors. In 1968 they were warriors. Thirty-seven years later at the Royal Albert Hall they were heroes.
In 1968 they went at it like duelling virtuosos. There was no smiling, no appearance of rapport. Each man was on his own mission. The dynamic was based more on conflict than cohesion. They did not inspire each other: they drove each other. With his wild orange-red hair, satanic beard, and electric-blue shirt, Ginger Baker swarmed over his drums, kicking and pounding and tom-tomming at the backs of the other two like some storm-making, earth-moving denizen of the underworld. At the same time, he was so mortal, so at the mercy of his demons, there were moments when you really thought he was going to keel over and die. Bruce and Clapton rarely looked at each other. The world of sound they were making took all their attention. That massive, mind-numbing sound was still ringing in my ears the next afternoon when I scribbled down some impressions: "Devastating. Complete. Unbelievable. Scary, almost unbearable. Sound as a tangible substance. Waking with pounding temples and hung over and no room in mind for anything else."
In 2005, among the many reasons why Cream's extraordinary 2-disc live Royal Albert Hall reunion DVD should be seen and heard, the most compelling is for the pleasure of watching these same three musicians genuinely, spontaneously enjoying one another. It's moving to see the smiles of sheer awe and admiration lighting up the faces of Bruce and Baker after Clapton's breathtaking solo on "Stormy Monday." Joy is the order of the day. Joy in the audience at being witness to an event many (including Ginger Baker, for one) thought would never happen. Joy in being alive, together again, and playing brilliantly.
In 1968 Cream seemed to be attacking life, breaking through the boundaries, taking the psychedelic adventure to the limit. In 2005 they were affirming life, celebrating it, relishing it and loving it in their music.
A Pedant in the Works

Objectivity? Never heard of it. Not that March night in 1968. If you were being objective at Brandeis when the first number, "Tales of Brave Ulysses," came thundering down on you, you might as well have gone home and kept your distance. In that not very large room, there was no such thing as distance. But wouldn't you know, an objective witness was there, a critic-in-the-making logging violations of musical decorum as the storm raged around him. His name was Jon Landau and he was covering the event for the Brandeis student newspaper and would later turn his blues-scholarly observations into a pedantic, stuffy, condescending scolding of Cream (and Eric Clapton in particular) for Rolling Stone. To maintain your objectivity at such an event would be downright unnatural. You might as well be objective about a hurricane or a sunset: "Too much red in the center! Did we really need all that haze? And that yellow-gold edging on the clouds — such a cliché!" When I read Landau's piece, I wrote a letter to Rolling Stone. He hadn't specified which concert, so I figured he must have seen Cream on an off-night. But no, he was really there, in a manner of speaking anyway. So was Alan Heineman, who covered the concert for Down Beat. While Landau was quibbling about "blues clichés" and lamenting that his "disappointment with the group was staring him in the face," Heineman proved that he'd witnessed what we'd witnessed: "A trio — right? Wrong. Seven orchestras. Cream's sound is just this side of physically tangible. It assaults, drowns, lifts, transports, and when it stops, one feels alone, insufficient somehow."
Probably the most notorious example of the impact of a single negative review in the annals of rock is Jon Landau's dismissal of Clapton and Cream on the strength of the Brandeis performance. It's said that when Clapton read that lecture on his art by his inferior, he fainted. However he reacted, his response to Landau's slam directly influenced the break-up of the band. In subsequent interviews Jack Bruce and Ginger Baker have agreed that, whether or not he fainted, "Eric took it too seriously."
Of course it's not fair to lay the blame for the break-up on Landau, who was actually one of the more intelligent rock critics of the day and went on to become Bruce Springsteen's producer. But it's tempting to see the glorious Albert Hall reunion as the Last Word 37 years after the fact.

A Work of Art

The more I see of the DVD, which is on Rhino and lists for $29.90 but can be had for ten dollars less on amazon, the more I admire it not merely as a record of those four nights of music (May 2, 3, 5, 6, 2005) but as a film in its own right. Even as it's giving you rare, intimate glimpses of the musicians as they make the music (19 numbers from all four evenings, three alternate takes, and interviews with each member of the band), it's also celebrating the interior of the Royal Albert Hall, which looks like nothing less than an angelic opera house in rock and roll heaven, complete with a dome of many-colored glass.
The film begins by taking you on a straight-ahead tracking-shot ride down a long backstage corridor toward the stage to let you know how it felt to be striding out there with the musicians as the clapping and cheering delirium of welcome begins. Talk about welcomes. Think of it: for the first time in 37 years a three-man rock and roll legend is stepping back into the spotlight. There is a light show in the background just for old time's sake, but the three men look admirably mortal. No flashy clothes, no orgies of glam or glitter showmanship (never their style anyway). Clapton unshaven, shirt untucked, Bruce haggard and wasted and undaunted, Baker gaunt as ever, balding and bespectacled, with his pant-legs rolled up. If you were looking at them impersonally, unmindful of the occasion, you'd think "Who are those old geezers and what are they doing up there in the limelight?"
According to the law of diminished expectations, if only by giving a moderately good impersonation of their 1968 selves, Cream could at least have lived up to the excitement and anticipation. Now that I've blackened the good name of objectivity, I can objectively say that based on the evidence contained in the DVD, Cream 2005 gave a performance for the ages. There was no way they were going to create the magnificent monster that thundered down on us in 1968. In the interviews, they admit toying with the idea of dragging out the Marshall stacks and going for the Big Sound, but it didn't feel right. If you want the old intensity, if you're wishing for "Tales of Brave Ulysses" and the brilliant sonic adventures Clapton could lead you on with his unparalleled use of the wah-wah pedal, you'll be disappointed. Even so, there are moments when they come near to making it happen again, if only briefly and with more breathing room than in the old days, most obviously the surging, pounding, all-out jam at the end of "Sunshine of Your Love" (including an alternate version, apparently the last number on the last night). In any case, the original underpinning of the Big Sound lives on in Ginger Baker, who is still doing more with his arsenal than most drummers could ever dream of.
Again, what stands out in Cream 2005 is the joy showing through as they listen to one another, admiring one another, and letting the world know it with those sudden smiles of appreciation and affection. You can see it when they're doing two numbers they'd never performed before in person: "Pressed Rat and Wart Hog" (with Ginger Baker's sepulchral narration, like a Cockney Tom Waits) and "Badge," which contains one of the great moments of the set when Clapton lets a pause develop between the two halves of the song, with the audience hanging in the balance, in a transport of expectation, so that when he finally cuts loose, the crowd lets its breath out and erupts. I only wish Clapton had played the wailing soaring coda that lifts the recorded version of "Pressed Rat and Wart Hog" from mad English whimsey (the dark side of Wind in the Willows) into electric-guitar nirvana.
Here's another sort of heroism. Here's Jack Bruce, 62, singing his heart out, on the mend after a liver transplant, Ginger Baker, 66, drumming like a man possessed, and Eric Clapton, who turned 60 last March and has aged with less wear and tear, but if you know what he's been through in the past three decades, you know he, too, is a survivor. Finally, here's the answer to all the pedants and purists who chastised these three for presuming to play the blues, the implication being that because they were young and white they couldn't have lived it: they were pretenders stealing the music of their betters. This was a fallacy, though a lesser one, even in 1968. Like Van Morrison and Led Zeppelin, Cream took the blues along for the ride to another level. Right now if there are any blues guitarists on the planet, or any sort of guitarist, who can touch Eric Clapton, let them stand up and be counted. When Jack Bruce sings "Born Under a Bad Sign," he can smile: you can see him loving it, easy with it, because he's earned it, he's lived the blues: it's in his face and in his voice. As for Ginger Baker, he's still the master of his realm, and anyway, he'll tell you it's more than the blues or rock and roll. "Jack and I are jazz musicians," he says in the interview. "Eric doesn't think he's a jazz player, but I do, and so does Jack."

Chuck Berry concert documentary coming to DVD By Thomas K. Arnold

LOS ANGELES (Hollywood Reporter) - Image Entertainment has secured DVD rights to "Hail! Hail! Rock 'n' Roll," the seminal Chuck Berry movie masterminded by Keith Richards.

The firm will release two-disc and four-disc editions with never-before-seen footage, documentaries, interviews and other bonus materials on June 27.

The 1987 film, which captures a St. Louis concert commemorating Berry's 60th birthday the year before, features such stars as Eric Clapton, Etta James, Robert Cray, Linda Ronstadt and Julian Lennon.

The film also incorporates interviews with an occasionally testy Berry and his family members, the late Roy Orbison, Jerry Lee Lewis, Bruce Springsteen, Little Richard, the Everly Brothers and Bo Diddley.

Also featured is footage of a performance by Berry and his backup band of the 1950s at the long-gone Cosmopolitan Club in East St. Louis, Ill. The film was directed by Taylor Hackford, who most recently produced and directed the Oscar-winning biopic "Ray."

The four-disc set will contain more than seven hours of new material. Highlights, according to Hackford, include "intimate jam sessions" with Clapton, Cray, James, Richards, Berry and Berry's late keyboardist sidekick Johnnie Johnson, extended interviews with some of rock's founding fathers and a conversation between Berry and the Band's Robbie Robertson in which Berry talks about his prison experiences for the first time.

Randolph's Family rolling with Matthews, Clapton
Tue Jan 31

CLEVELAND (Billboard) - The highly anticipated new album from steel guitar virtuoso Robert Randolph and the Family Band is shaping up to be the guitar record of 2006, boasting a who's-who list of guests like Dave Matthews and Eric Clapton.

Carlos Santana would have appeared on the as-yet-untitled project if label issues could have been ironed out. Still, the Bay Area resident did fly down to Randolph's Los Angeles recording studio just to "hang out, play guitar and talk over some stuff," Randolph told Billboard.com.

The new album, due in May via Warner Bros., is the follow-up to 2003's "Unclassified," which yielded two Grammy nominations.

The Orange, N.Y., native has been recording on and off for a year, interpolating studio time with touring, which has allowed him to road test many of the new tracks, including "Ain't Nothing Wrong With That," "The Thrill of It" and "Deliver Me." Matthews contributes on "Love is the Only Way," while a cover of the Doobie Brothers' "Jesus is Just Alright" features Clapton.

"We're going to give people something totally different than what's really out there now," Randolph said. "Because a lot of people today figure when they write songs, it just has to be pinpointed whether you want to talk about having sex, hatred, being a thug and all of that kind of stuff. And we just pinpoint great songs that are just sticking and will last forever. If you ever listen to an old Zeppelin record, those guys are just writing songs. They don't really care if it's going to fit in rock, blues or R&B. That's what we're trying to do."

For the next year, Randolph expects to be touring, including a month-long jaunt beginning February 10 in Kansas City and a possible opening slot on the Red Hot Chili Peppers' summer outing. Said Randolph, "After April, we'll be gone forever."

http://news.yahoo.com/s/nm/20060131/music_nm/randolph_dc;_ylt=AuFdAvIxpGjIqhe1wjgtHeCVE...

Tim Carmon возвращается в группу Эрика.

Видимо, он заменит заболевшего Билли Престона.
Tim Carmon - известный сессионный клавишник. Участвовал в турах ЕС 1998-1999.

Cappuccino … Hiroshi Fujiwara featuring Eric Clapton

Hiroshi Fujiwara has teamed up again with Eric Clapton to produce a single called "Cappuccino" which is just released in Japan under Victor Entertainment. Also features guest performances from Nobuichi Ozawa, Yumi Matsutoya, Tetsuo Sunaga, K.U.D.O., Nathan East, Hirofumi Asamoto, Dub Master, and more!

Title: Cappuccino
Artist: Hiroshi Fujiwara featuring Eric Clapton
Source: 1CD
Record Label: JVC Victor Entertainment
Release Date: January 2006

Извиняюсь за оффтоп, но мне нужна ваша помощь.
Я собираю всё о Cream, но не могу нигде достать их Farewell Concert 1968 года.В принципе, я могу купить в интернете, но пока на сей шаг не решился.
Может у кого-нибудь есть этот концерт на DVD и он смог бы мне переписать и выслать? Я,разумеется,всё оплачу.
Очень прошу!
Если кто чем-нибудь может помочь, пишите пожалуйста на kutniakov2005@mail.ru

MASON THANKS CREAM FOR CAREER DIRECTION

PINK FLOYD drummer NICK MASON would have become an architect if it wasn't for rock supergroup CREAM.

Mason and founder members ROGER WATERS, RICK WRIGHT and SYD BARRETT were students when they saw ERIC CLAPTON, GINGER BAKER and JACK BRUCE perform in the mid-1960s.

Mason says, "SUNSHINE OF YOUR LOVE turned me from studying architecture to rock 'n' roll.

"We were students at Regent Street Polytechnic and they played at one of our hops. That was the moment I thought, 'Yes, this is what I want to do.'

"I went to see their reunion shows at the Albert Hall (London venue) last year with Roger Waters.

http://www.npr.org/templates/story/story.php?storyId=5187277

Fresh Air from WHYY, February 3, 2006 ·

The groundbreaking rock band Cream he will receive a 2006 Lifetime Achievement Grammy Award next week. Eric Clapton was the group's guitarist. His friends call him "Slowhand"; his fans call him "God." Whatever name he goes by, Eric Clapton is at or near the top of any list of the greatest guitar players in rock history.

Clapton started out playing blues with the Yardbirds ("For Your Love") in the early 1960s, then played with John Mayall's Bluesbreakers before forming Cream, one of the '60s most influential bands. This interview originally aired on Dec. 7, 1989.

1975

1975 with stones

Beauitful coin paying tribute to guitar legend Eric Clapton. The coin is antique silver with color enamel fill - 1 3/4" in diameter. A MUST for all Clapton fans!!